First of all, I'm a long time Shure supporter. Decades of quality and innovation.
But imagine how the SM-7B hype on GS would be different in a world where there was another mic with these attributes:
-costs LESS
-quality condenser
-higher output, smoother frequency response
-VERY good at rejecting off-axis sound
-sounds great on voice and instrument
-also has built-in pop filter
-used both live and studio by legendary performers
-smaller and less-obtrusive
-also made by a legendary company
-also has switches for pads/roll-off
That mic exists........the AKG C535EB
Actually there are probably a few mics that would fit the bill, but it will likely come from a company with lower manufacturing standards than AKG or Shure.
Actually there are probably a few mics that would fit the bill, but it will likely come from a company with lower manufacturing standards than AKG or Shure.
This is very true (and I hate supporting countries that don't pay their workers fairly) but most hobbyists don't need a mic that will last for 25 years.
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It's a journey. Not a destination. Enjoy yours.
What do you think of the Kel HM2d? Tonight I tracked a vocal through it instead of the SM7b. Gotta say, I love how the Kel captures that nice smooth tone of the SM7b (the Kel is voiced like an SM7b, according to the website), but adds more openness and sheen.
What do you think of the Kel HM2d? Tonight I tracked a vocal through it instead of the SM7b. Gotta say, I love how the Kel captures that nice smooth tone of the SM7b (the Kel is voiced like an SM7b, according to the website), but adds more openness and sheen.
First of all, I'm a long time Shure supporter. Decades of quality and innovation.
But imagine how the SM-7B hype on GS would be different in a world where there was another mic with these attributes:
-costs LESS
-quality condenser
-higher output, smoother frequency response
-VERY good at rejecting off-axis sound
-sounds great on voice and instrument
-also has built-in pop filter
-used both live and studio by legendary performers
-smaller and less-obtrusive
-also made by a legendary company
-also has switches for pads/roll-off
That mic exists........the AKG C535EB
Actually there are probably a few mics that would fit the bill, but it will likely come from a company with lower manufacturing standards than AKG or Shure.
That AKG 535 is my favorite mic that I've tried so far. There's something about the mellowness of it's sound but it's not overly bright and that gives it an interesting sweet sound that's uncharacteristic of a condenser. It's quite tasty. That is a mic that you have to know how to work though.....
If you want my vote for an inexpensive mic that is totally usable on a ton of sources, and makes you think of the classics, the SE X1 is very difficult to beat at $199.
I think it sounds better than the other alternatives in that sub 350 money range (to me), unless you start talking used. I first heard these when a drummer I know got two for OH's to track at his place. Sounded real nice. Then we tried on vox screwing round--- real nice too. Pretty nice on ac guitar. The premise of his thinking was he'd have a stereo pair, and two mics usable for instruments and vox after drums / basics were cut. I think he made a great choice.
This is what 50 more for a pair than one SM7. Just a thought.
I am a shure fan for my whole life too. SM81? I don't care what anybody says, nice flat transformer coupled mics. Nice ac gtr can be had, as well as mandolin. and other stringed stuff. Good on perc., and even piano in a pinch. SM91 cool on bass drum inside sometimes. 57 doesn't need mentioning, or 545. The KSM 32 and 44 are really nice mics that do a ton well.
If anything, THAT (both of those) is the Shure mic that should have the GS endless posts buzz.
The part about manufacturing, not sure about fair wages etc., as they have plants in China, Taiwan, and Mexico. I'm sure they are responsible though. When you call their parts / service, they are always nice and friendly at least. Doesn't mean that they treat their employees as such, but it's worth mentioning I guess.
j
PS: Kenny was that last mix (Distance)all ITB hybrid, or a desk at mix? Nice space between instruments. Great open feel.
This is very true (and I hate supporting countries that don't pay their workers fairly) but most hobbyists don't need a mic that will last for 25 years.
Most of my mics already lasted more than 25 years before they came into my possession. And I'm not talking about $$$ Neumann treasures here. There's a lot of-not-so-well-known vintage bargains out there with a quality in built and sound that you don't find nowadays in low end or midrange mics.
Yes, that was my previous setup. You can get some decent sounds with the setup. Just don't crank the gain on that MPA much about 55db. Starts to get noisy.
Has anyone used the art mpa gold or art mpa 2 with the sm7?
I've ran it through the mpa golds before, its a combination that will sort of get you by but I honestly wouldn't consider it, what are you trying to record?
I've ran it through the mpa golds before, its a combination that will sort of get you by but I honestly wouldn't consider it, what are you trying to record?
Same here with an Pro MPA II: It works well for louder sources like rock vocals, but for more subtle sources you have to crank up gain to a level where the MPA Pro starts to get noisy.
Yeah I'd be recording hip hop vocals. Are their any $100-$200 preamps that get the job done? Right now I'm also considering just making the jump and getting a gap pre73 but I'd like to get input on other decent set-ups as well.
FYI I live over an hour away from a store that sells preamps so testing them out myself is out of question.
I have a Grace m101 that I use for my SM7. I actually had these units before, but sold them like an idiot. Never found (for cheap) anything that sounded as good on my voice. Kenny is right that the m101 is a great match for the SM7. So I ended up with another m101 and another SM7.
Anyway, I recently needed a tiny mixer to bridge between my PCI interface and monitors, so I picked up a Mackie 402-VLZ3, not expecting to use the imputs at all. But just for kicks, I plugged in the SM7 and was amazed that it's a pretty solid match. After that I needed a new portable interface for my laptop and decided based on the VLZ3 that the Onyx Blackjack would be worth trying. And again - really nice sound. Better that what I used to get out of my old VTB1 or DMP3.
So if you're looking for a decent preamp for under $200, the VLZ3 isn't the worst you could do. Or even the Blackjack can be used as a USB powered 2-channel preamp to feed your regular interface.
OK - these particular Mackie's are better than I expected. Does that make it better? Kenny, it's always hard to tell with you whether you're being playful or condescending!
I think everyone knows that you don't like the SM7 and that you generally don't pay attention to much low-dollar gear (hence having never heard of KEL mics). The thing is - the OP posted this on the board titled "Low End Theory", and then chimed in with a question: "Are their any $100-$200 preamps that get the job done?" Do you have a suggestion for him that does not include "get a different mic"?
jrghetto602 - a couple of things you may consider.
1) I've heard some great results using stock interface preamps & and SM7 with a Fethead or CloudLifter to boost the clean gain. So that's another way to spend less than $200 and get a good signal from your mic.
2) I'd personally be inclined to spend that money on a better interface with preamps and not use the ART USB Pre. It has low gain, only records at 16-bit, and doesn't have any low-latency drivers. I've used my SM7 on preamps from the following:
Presonus AudioBox 22VSL (and 44VSL & 1818VSL, too) - 65db gain, but clips easily and doesn't sound so hot.
Presonus FireStudio Mobile - better. Has 70db gain and decent sound.
Presonus StudioLive 16.0.2 - roughly the same as the FSM. A little less gain.
M-Audio DMP3 - not bad.
Studio Projects VTB1 - not bad.
Soundcraft Spirit M4/M8 - pretty nice.
Behringer Xenyx boards - Not horrible.
Behringer ADA8000 - surprisingly quiet at high gain. Not bad at all.
Line 6 Toneport UX2 (UX1, KB37 & UX8) - too weak. Might would be fine with a Fethead.
TC Electronic Desktop Konnekt 6 - pretty weak.
Mackie 402-VLZ3 & Onyx Blackjack - pretty fair.
Grace Design m101 - NICE!
I'm probably leaving some off, but that's what I have personal experience owning and using.
OK - these particular Mackie's are better than I expected. Does that make it better? Kenny, it's always hard to tell with you whether you're being playful or condescending!
I think everyone knows that you don't like the SM7 and that you generally don't pay attention to much low-dollar gear (hence having never heard of KEL mics). The thing is - the OP posted this on the board titled "Low End Theory", and then chimed in with a question: "Are their any $100-$200 preamps that get the job done?" Do you have a suggestion for him that does not include "get a different mic"?
jrghetto602 - a couple of things you may consider.
1) I've heard some great results using stock interface preamps & and SM7 with a Fethead or CloudLifter to boost the clean gain. So that's another way to spend less than $200 and get a good signal from your mic.
2) I'd personally be inclined to spend that money on a better interface with preamps and not use the ART USB Pre. It has low gain, only records at 16-bit, and doesn't have any low-latency drivers. I've used my SM7 on preamps from the following:
Presonus AudioBox 22VSL (and 44VSL & 1818VSL, too) - 65db gain, but clips easily and doesn't sound so hot.
Presonus FireStudio Mobile - better. Has 70db gain and decent sound.
Presonus StudioLive 16.0.2 - roughly the same as the FSM. A little less gain.
M-Audio DMP3 - not bad.
Studio Projects VTB1 - not bad.
Soundcraft Spirit M4/M8 - pretty nice.
Behringer Xenyx boards - Not horrible.
Behringer ADA8000 - surprisingly quiet at high gain. Not bad at all.
Line 6 Toneport UX2 (UX1, KB37 & UX8) - too weak. Might would be fine with a Fethead.
TC Electronic Desktop Konnekt 6 - pretty weak.
Mackie 402-VLZ3 & Onyx Blackjack - pretty fair.
Grace Design m101 - NICE!
I'm probably leaving some off, but that's what I have personal experience owning and using.
I got the best results with the racked up D&R 8000 console channel strips so far - they deliver up to 70dB of clean and very low noise gain and it was easy EQing with the the channel EQs. My next pre amp with some nice vintage high end parts will arrive soon, curious what that will deliver with the SM7b.
With the Art pro MPA II it was nice sounding, but not enough clean gain for more subtle recordings, had to crank up gain to a point where it started to get noisy.
OK - these particular Mackie's are better than I expected. Does that make it better? Kenny, it's always hard to tell with you whether you're being playful or condescending!
I was just being playful.
You're right. I have no business being in this forum. I have very little experience with lo end gear on vocals. Although, every drum mic I own cost about $100. Including the overheads. Carry on.
My comment about the Mackie was based on me googling those products and realizing that if you like those pieces, I'd be surprised if you didn't like Mackie's other stuff. I actually like Mackie stuff.
My friend sent me a SM7b and I received it today . When I opened the box I held the Mic and guess what? I could fly! I flew around the house like a bird! It was amazing, I just had to tell someone. Can't wait to try my cloudlifter tomorrow. I think I can get into outer space.
My friend sent me a SM7b and I received it today . When I opened the box I held the Mic and guess what? I could fly! I flew around the house like a bird! It was amazing, I just had to tell someone. Can't wait to try my cloudlifter tomorrow. I think I can get into outer space.
I haven't tried the SM7 or SM7B myself, but I really like the sound
on John Mayer's In repair.
people have to be running out of excuses about why the sm7 sucks/doesn't sound good on vocals/etc. i've recorded complete records with that mic and have gotten incredible results. vocals sit very well and take eq very well. i don't think its the mics fault that people don't get at least decent results.
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GET OFF THE LORDS BUS IF U AINT GOT CORRECT CHANGE!
For real. I've only been doing this recording thing for 3 years now. I'm far from being a pro, but jeez, I can easily cut very nice vocals with an SM7b. Do folks not know how to cut some mids to remove the supposed mud and EQ in a little air? Again, I'm not an expert, but that's all I've ever had to do to get decent sounding vocals with this mic. I have to scratch my head when I hear professionals on here saying they can't mix vocals cut with this mic. I mean, wow, this mic just blends in with big mixes like it was thick, creamy butter.
Quote:
Originally Posted by s12512
people have to be running out of excuses about why the sm7 sucks/doesn't sound good on vocals/etc. i've recorded complete records with that mic and have gotten incredible results. vocals sit very well and take eq very well. i don't think its the mics fault that people don't get at least decent results.
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